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Destinations Europe Norway
8 Amazing Things To Do In Oslo, Norway
Jun.28.2019
Meagan Drillinger
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The enigmatic, adventurous spirit of Viking sea culture meets the energy of 21st-century Europe in one of the fastest-growing cities on the continent. Oslo, Norway, is one of the greatest cross-sections of past meets present. Tradition (from its Viking roots), influential works of art, and 18th-century architecture sit alongside the cutting edge of modernity in Oslo.
The omnipresence of cranes along the skyline reveals an ever-evolving landscape, yet the city's socially conscious residents and developers are committed to maintaining the title of European Green Capital in 2019, meaning a visit to Oslo is a visit to a city with one of the lowest carbon footprints in the world.
Oslo is known for its sustainable food, green space, parks, and some of the most pristine natural environments on earth located just a stone's throw from the city center. When the sun goes down, artistic and forward-thinking Oslo transforms into one of the most energetic nightlife capitals of Europe, with live music, craft cocktails, and a constantly innovating culinary scene.
There is something magnetic about Norway's capital. Whether your passion lies in adventure, culture, history, gastronomy, or architecture, this sea-faring European city is brimming with activities that will thrill even the most discerning traveler.
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1. Meander Old And New Oslo From One Waterfront Perch
The best way to get a feel for Oslo's vibe is to step into a veritable microcosm of the city itself. No doubt this is Oslo's unique Harbour Promenade. The 5.5-mile waterfront boardwalk is one of the best places in the city for sightseeing, history, art, architecture, and adventure. The promenade winds through many different parts of the city, both new and old, showcasing that this historic city has made itself right at home in the 21st century.
"Important waterfront landmarks include a mix of enticing modern urban achievements: Aker Brygge Wharf, a trendy shopping and restaurant area, the newly renovated Tjuvholmen boasting modern canals, and the Norwegian National Opera and Ballet," says Caroline Duterque, chief editor of the Jack and Ferdi travel app. "Large orange information towers are placed at regular intervals along the whole waterfront promenade and will keep you on track."
Oslo's magnificent Opera House -- built to look like a floating glacier and considered one of the most recognizable buildings in Scandinavia -- is located on the promenade. Not only is it an architectural marvel, it is also known for its world-class opera and ballet performances.
Tip: Be sure to stop by SALT, a pop-up art project in Oslo that features various bands, poets, and local food and drink stalls. It's a great spot to visit during the evenings to take in the hustle and bustle of locals and tourists. Insiders know that the promenade is also home to one of the world's largest saunas, so don't forget to bring your bathing suit.
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2. Give Peace A Chance
December 10 marks the day each year when Nobel Laureates are honored at ceremonies in both Stockholm, Sweden, and Oslo. Alfred Nobel, the founder of the award, stipulated in his will that prizes in physics, chemistry, physiology, medicine, and literature would be awarded at the Stockholm ceremony, while peace prizes would be awarded in Norway. Today the Nobel Peace Center stands in the heart of Oslo as the premier place to learn about the Nobel Peace Prize and its past winners.
The center showcases past laureates and their work, plus the story of Alfred Nobel. It also acts as a modern-day salon for debate about important social issues. The center itself is housed in what used to be a railway station. Admission costs roughly $13.
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3. Sail Into The Past
The Oslo region was a very important area during the Viking Age, which endured from 800 to 1050 A.D. The Vikings were one of the world's greatest civilizations, and they were major contributors to the age of discovery. Today, most of the world's knowledge about the Vikings comes from archaeology and lore, much of which can be experienced at the Viking Ship Museum on the Bygdoy Peninsula, a residential and cultural neighborhood near the city center known for Oslo's popular museums, hiking trails, and recreational areas.
The Viking Ship Museum hosts some of the world's best-preserved Viking ships and displays archaeological finds from Viking tombs around the Oslo Fjord. "A visit to the Viking Ship Museum on the Bygdoy Peninsula will show you that not only were Vikings mighty warriors, but also outstanding storytellers, poets, traders, and craftsmen," says Duterque. "The Viking Age display includes beds, a beautiful horse cart, woodcarving, tent components, and household utensils."
Admission is roughly $11.
The best way to get to the peninsula in summer is to take the boat that departs from Pier 3 behind City Hall. During the winter visitors and locals prefer bus number 30, which operates year-round.
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4. Hit The Beach
While you're over on the Bygdoy Peninsula, a visit to Huk beach is an absolute must. Although Scandinavia isn't exactly known as a beach destination, the locals of Oslo definitely take advantage of their waterfront real estate. Huk is one of three main sandy beaches along the peninsula, and is one of the best spots to immerse yourself in local life. Residents of Oslo love to visit Huk for walks, runs, biking, and simply relaxing. For those who really want to let loose, the bathing beach is divided into a regular public beach and a nude beach.
"Huk is a green space and a sandy beach that also features a swimming pool, bike racks, barbecue pits, and even a volleyball court," says Duterque. While the area is used for outdoor recreation year-round, it's most crowded on sunny summer days.
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5. Snap The Quintessential Oslo Picture
Experience the storybook setting of historic Oslo by taking a stroll through the well-preserved (and still-inhabited) Damstredet and Telthusbakken. These two streets provide picture-perfect glimpses into quintessential historic Oslo. The charming central area of the city has wooden houses from the 18th and 19th centuries. Damstredet is a cobblestone street flanked with wooden houses, while Telthusbakken, just below the medieval church Gamle Aker Kirk, has lovely gardens. Be sure to stroll the romantic Kjaerlighetsstien, which translates to "the love trail." This green, overhanging foliage "tunnel" is an idyllic (and photogenic) hideaway right in the middle of the city.
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6. Taste Oslo's Evolution Through Food
When listing the great culinary influences of Europe, Norway does not often pop to top of mind. But bear with us for a second: The cuisine of Norway is going through a gastronomic evolution that is calling attention to the finer details that make the Norwegian dining scene so unique.
For a comprehensive overview of Norwegian cuisine, a stop at Mathallen, Oslo's food hall, is a must. This indoor food market is an energetic, colorful cross-section of small-scale Norwegian producers and specialty shops. Sample locally produced cheeses, hams, and other products to get a grand overview of the culinary landscape not only of Oslo, but Norway on the whole.
Feeling adventurous? Be sure to find a menu that serves reindeer meat. Yes, you read that correctly. Reindeer has been a landmark of Norwegian cuisine for centuries, but for visitors, it's part of a novel dining experience. One of the best places to try it is at Engebret Cafe, the oldest enduring restaurant in Oslo, which has been in operation since 1857. Order the reindeer steak and prepare to be hooked.
Travelers can return to the present with cocktails at Himkok, voted one of the world's 50 best bars. "Himkok is not just a bar, but also a distillery where they make their own spirits -- usually gin, vodka, and Norwegian aquavit," says Silke Wolf, travel curator and founder of Local Insiders, a bespoke travel service. "You can look straight into the distillery room. A tour of the premises is included to see the four different drink concepts across two floors."
Past meets present in plated perfection at Vaaghals, an Oslo fine-dining experience that offers traditional Norwegian food in modern presentation, complete with wine pairing.
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7. Pay Your Respects To Emanuel Vigeland
Oslo is proud of its artistic heritage (it is the birthplace of Edvard Munch, painter of "The Scream," after all). But its love of unusual art doesn't begin and end with "The Scream," as evidenced by the prominent display of eccentric sculptures by native son Gustav Vigeland in Vigeland Park. Vigeland (1869-1943), known for his strange and enchanting art and sculptures, was one of the more unusual artists to grace the Scandinavian art scene. And while the park itself is worth a visit to see the sculptures, the Vigeland name has another star to claim, as well. Emanuel Vigeland, Gustav's brother, was also a dedicated artist. The Emanuel Vigeland Museum serves as both a center for his work and his self-designed mausoleum.
Visit Vigeland Museum, and take in the sounds that echo across the chambers of this haunting yet beautiful work of art. Let your eyes adjust to the dimly lit, 8,600-square-foot space, splashed with (often erotic) frescoes that festoon the walls, depicting the life and death of man. The art within this museum-mausoleum took Vigeland 20 years to complete. Be sure to check its opening times as it is only open for a few hours throughout the week.
Admission costs roughly $6.
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8. Get Out Of Town
Nature lovers are in for the "wow" moment of a lifetime when they visit Oslo, especially if the world's best fjords are on your bucket list. A fjord is a narrow, deep inlet of sea surrounded by towering cliffs, which are typically formed when a glacier retreats and the sea floods the resulting valley floor. Norway is one of the best places in the world to experience fjords. Great news for visitors to Oslo: You don't have to travel far outside the city to find them.
Oslofjord is about 60 miles long and peppered with many tiny islands that are graced with their own histories. There are several ways to explore this waterway: island-hopping with an Oslo Pass (a card that lets you enter museums and attractions and use the city's public transportation network) or on a sightseeing fjord cruise. Oslofjord is a popular place to go swimming, kayaking, hiking, and fishing.
Note: The Oslo Pass includes entry to 30 museums and attractions, travel on all public transport, outdoor swimming pools, and more. A 24-hour pass costs about $50.
A two-hour fjord cruise will pass through the bays and surrounding islands, through inlets, and past landmarks including the National Opera and Ballet House, as well as the Bygdoy Peninsula. Rates start from approximately $38.


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The least you can do is read itIan Hamilton
The least you can do is read it
Ian Hamilton
Cyril Connolly: A Life
by Jeremy Lewis.
Cape, 653 pp., £25, May 1997, 0 224 03710 2Show More
Cyril Connolly is famous now, and was famous in his lifetime, for not having written a masterpiece. A peculiar sort of fame: after all, many thousands of literary persons share the same distinction. Connolly, though, made a career out of insisting that his failure had a special poignancy, a poignancy which we should all attend to.
Others fail at literature because they don't have the necessary talent. With Connolly it was different. It was not an insufficiency of giftedness that kept him from delivering the goods. With him it was something altogether more complex and intriguing: something to do with Eton, mother, Ireland, wartime, sex, the cultural Zeitgeist, laziness, food, money, publishers, disloyal or too loyal friends, and so on. Above all, and influencing most of the above, it was to do with his unfaultable – nay, altitudinous – Good Taste. And this Good Taste, he wished it to be known, was both a blessing and a curse.
Connolly knew a masterpiece when he encountered one. He couldn't help himself: he had the palate. Furthermore he knew he possessed the kind of sensibility that went into the making of a masterpiece. He belonged, by natural kinship, in the company of high-art writers like Flaubert, Proust and James (or, as he contended for a while, Edith Sitwell, Aldous Huxley and Virginia Woolf), and therefore he could scarcely be expected to function at the same level as industrious pen-pushers like, say, Bennett or Galsworthy. He would much rather talk Proust over a posh dinner than sit at home and read a new novel by Jack Priestley. In many respects, and in spite of all the talk about becoming, or not becoming, a great artist, Connolly's true vocation was to score points as a literary socialite. This being so, he had no wish to be praised for effortful near-misses. Far better not to try than to be thought of as a trier.
Of course, he did try – although, to judge from what we now know of his several inglorious false starts, he didn't try too hard. The stance of 'promise-victimised' was picked up early on. At first, it was a self-defensive social ploy but over the years it was coaxed into a thoroughgoing style: a life-style and a work-style. Observing the dinner-table impact of lordly non-producers like Logan Pearsall Smith and Desmond MacCarthy, Connolly in his mid-twenties realised that failure, if worked on, could handsomely pay off. At worst, the notion of gifts wasted or withheld might lend a dark coherence to the most fragmentary output. At best, it might guarantee that any books he did vouchsafe would be greeted as provisional: mere preludes to the one that mattered. And if this book that mattered failed to happen, readers would scarcely blame its 'author'. On the contrary, they might very well find in the book's non-appearance both pathos and significance, a lesson to be learned.
And this, for almost five decades, was how it worked for Cyril Connolly – and still works, so it seems. His literary life is now studied as a kind of parable, or cautionary tale – which is pretty much how he saw it, and wished it to be seen. There have been five respectful books about Connolly since his death in 1974: about the same number as he himself produced, if we include collections of his book reviews. In the shops it is easier to find books about him than books by him. Nobody any longer wants to read The Rock Pool or The Unquiet Grave, except as period-pieces. Only Enemies of Promise (1938) has proved to have real staying power, and this largely because of a few golden phrases. And yet Connolly's reputation is probably as high as it has ever been. Nice one, to be sure.
Philip Larkin once wrote that Connolly was 'at his best when able to assimilate his subject into the scenario of his own temperament'. But for connolly such assimilation was compulsive. Almost everything he wrote was touched with woe-begone selfconsciousness. His humblest book reviews gave out an air of grievance: why am I doing this? If things were otherwise, he seemed to say, if he were richer, thinner, better-looking, luckier, more disciplined, we wouldn't be reading this review, and he would hot have had to write it.
When other people wrote scornfully about these same reviews, he got annoyed. He wanted to be admired for his professionalism almost as badly as he wanted to be pitied for his damaged promise. He liked always to be in-between: in between art and its enemies, in between wives, in between books, in between countries, North and South. He liked to draw up self-dissecting lists: 'I can't bear to be unpopular, though I enjoy being hated'; 'I am too much of a snob to be a bohemian'; 'I am always trying to wound others, while remaining infinitely vulnerable.' To be Cyril Connolly meant being 'a lazy, irresolute person, over-vain and over-modest, unsure in my judgments and unable to finish what I have begun'. It also meant being pitilessly self-revealing (or tediously self-obsessed, as some believed). 'In myself,' he used to say, 'I recognise three beings. 1. The romantic, melancholy artist. 2. The 18th-century hedonist. 3. The efficient 20th-century left-wing intellectual.' Small wonder, runs the subtext, that I'm finding it difficult to write a book. As Jeremy Lewis's admirable biography shows, Connolly's life was pimpled with 'if onlys'. His dream, he once testified, was to 'live in one lovely place always pining for another, with the perfect woman imagining one more perfect'.
Sexually, he was forever in a state of indecision. At school, he pined for perfect boys, and with boys his wooing style was spiritual and bookish. These Eton crushes were more painfully intense than anything that afterwards happened to him in this line. Once he discovered women, he became more casual and abrupt in his liaisons, though always likely to set up a mighty howl when things went wrong. Women were like mothers (Connolly's own mother was mostly absent from his childhood, having run off with her husband's boss): he liked them to cuddle him and give him pocket money. There was always a feeling, though, that he blamed them for not having been to Eton. 'A certain austerity of taste,' he once observed, 'has made me always revolt from the curves of the feminine shape.' As with his writing, women could never quite shape up, could never be the masterworks he yearned for. Only now and again was he fortunate enough to find 'a lovely boy-girl ... like a casual, loving, decadent Eton athlete'. Connolly's conduct with women was alternately bossy and babyish – a winning formula, to judge from his strike-rate. Lewis amiably guides us through Connolly's numerous affairs and marriages without ever being able to tell us what these women saw in him. But then the women themselves seemed not to know, much of the time. He was – well, he was just 'poor Cyril'.
In Enemies of Promise, Connolly divided current fiction into the Mandarin and the Vernacular (this was the late Thirties). To which mode did he belong? Needless to say, this was not altogether clear, except that his testy judgments on the Mandarin were pretty mandarin: lots of showy condescension, and not much substance. Most readers were probably left with the idea that connolly was too gutsily realistic to be like Virginia Woolf, and too elegantly mannered to be like D.H. Lawrence. As always, he was somewhere in between. This was his natural terrain. When there were two things to be had, he wanted both. He wanted to be old-fashinoned. He also wanted to be up to date. He preened himself as a high-grade connoisseur of bygone beauties. At the same time, he liked to be seen as a rule-breaking avant-gardist. He dreamed of being a bookman of vast leisure, with a private income, a well-stocked cellar in the country and a great library of first editions, but he also got a kick out of studying the mechanics of down-at-heel Grub Street survival. He wanted to be left-wing; he wanted to be right-wing. Most of all, and without equivocation, he wanted his equivocations to be talked about. And talked about by people who knew how to talk, and who spent lots of time talking to each other. Waughs, Flemings, Mitfords, Bowras, Nicolsons, Woolfs, Powells, Clarks: the list was wonderfully challenging, ineffably discordant in its inner workings. What, though, if they could all be made to love Cyril as they ought to: love him but never finally quite fathom him?
It is perhaps not surprising that Connolly's peak writing triumphs – the words of his we want to keep – turned out to be in modes like parody and aphorism: humble modes which nonetheless thrive on a rhetoric of self-assurance, modes in which his irresolution could be projected as a form of social dominance. As jester or as sage, he was loldly above the fray and yet mysteriously on the ball. Another winning formula, and Lewis traces its drawing-room effects in ardent detail. The kind of people Connolly most wanted to impress, and did impress, were the kind of people who wrote lots of determinedly well-written letters. Lewis is skilful in his use of these – would indeed be somewhat lost without them. His intelligent and conscientious book ought not to be described as 'gossipy', but almost everybody in it was a gossip. And Cyril, as he himself had hoped and planned, was first-rate gossip fodder.
Connolly's parodies of his literary contemporaries were rightly considered to be brilliant at the time, and they still raise a laugh, but were they intended to be spiteful or admiring? When pressed, Connolly would own that they were probably a bit of both. His aphorisms (heavily indebted to Logan Pearsall Smith's Trivia books: he worked as Smith's secretary for a time, and envied his employer's well-heeled other-worldliness) were in general less sparkling than his literary take-offs but quite a few have now become part of the language. One need only check the standard dictionaries of modern quotations to realise that here, if anywhere, lies Connolly's true immortality. The best of his maxims were from the heart: 'Whom the gods wish to destroy they first call promising'; 'There is no more sombre enemy of art than the pram in the hall'; 'Imprisoned in every fat man a thin man is wildly signalling to be let out.' (According to Lewis, incidentally, this fat man/thin man trope was probably lifted from George Orwell.) The worst of them – indeed the average – now seem pompous and banal: 'No one can make us hate ourselves like an admirer'; 'All charming people have something to conceal, usually their total dependence on other people'; 'Literature is the art of writing something that will be read twice: journalism what will be grasped at once.' But even with these lead balloons we are meant to catch a whiff of the authentic Cyril: meant to marvel at his stoic poise, then scratch our heads. Poor Cyril. Poor impressive Cyril.
During the war years, Connolly's inbetweenness found its perfect monthly outlet, in the magazine Horizon (1940-50). In Horizon's early issues, Connolly found himself, he said, caught between the 'aesthetic Twenties' and the 'puritan Thirties'. Prewar he had dabbled in both manners, without settling for either – at least not for long. Now he could change his stance from month to month. In May he could be aesthetic: September might find him veering just a shade towards the puritan. Some readers followed his fluctuating moods with fond solicitude. Others found them to be symptoms of an irritating spinelessness. Connolly was sympathetic to both points of view – although, when feeling particularly spineless, he preferred the fond approach.
On the subject of the war itself, Connolly was also in-between. War was anti-art, he'd say, and therefore artists should keep it at a distance: get on with their proper work while fighters fought. On the other hand, he was no pacifist and had no wish to be thought of as a shirker. This war was a just war, he decided, after a few months of dithering, and Horizon was a legitimate contribution to the war effort. Its offices had, after all, been bombed during the Blitz. He bridled when people reproached him for even thinking about Culture at a time like this. He disliked it intensely when 'warriors' (his name for the soldiery) put on their butcher-than-thou airs. Of one writer-conscript who attacked Horizon for its artiness, he wrote that 'unless the dashing captain has now left these shores, it is he who is under the obligation to us for carrying on through the craters, and amid the looped and windowed raggedness of our offices, to provide him and his stern followers with something to read in their quarters in the West Country.' This note of 'you're lucky you have me' cropped up rather often, and never more irascibly than when Connolly got onto the subject of his magazine's subscription list: 'If we can go on producing a magazine in these conditions, the least you can do is read it.'
Although Horizon is now thought of as Connolly's most substantial achievement, the truth is that during the war years his self-centred elegiacs were bound to grate on many people's nerves. On the other hand, nobody took him seriously when he tried to present himself as a jaw-jutting patriot. He simply did not have the style, or the sensibility, for times like these: times of moral urgency, of selflessness. Almost any note he struck was sure to be the wrong one; and nobody was more relieved than he was when the war came to an end. At last he could resurrect the old world-weary plangencies, the old disdains. The marquee of civilisation had collapsed, he wrote, and there was relish in his sonority. Europe, he declared, was finished. Even France was no longer the last outpost of Good Taste. She, too, was on her knees. Towards the end of the Forties, he began smiling towards America. American food parcels were arriving at the office, in response to an appeal, and Connolly was first in line. In October 1947, Horizon published a double issue on 'The Arts in America' and exhorted its readers to look to the New World for cultural renewal:
As Europe becomes more helpless the American are forced to become far-seeing and responsible, as Rome was forced by the long decline of Greece to produce an Augustus, a Vergil. Our impotence liberates their potentialities. Something important is about to happen, as if the wonderful jeunesse of America were suddenly to retain their idealism and vitality and courage and imagination into adult life, and become the wise and good who make use of them.
Even this, alas, produced no US funding for the magazine, and by 1949 the food parcels had stopped coming. Horizon, Connolly announced, would close down for a year, then reappear in 'an invigorated form'. It never did, and to judge from what proved to be its final editorial, it never really thought it would. 'It is closing time in the gardens of the West,' the editor intoned, 'and from now on an artist will be judged only by the resonance of his solitude or the quality of his despair.' But what about that wonderful American jeunesse? What about 'idealism and vitality and courage and imagination'? We can be fairly certain that no regular reader of Horizon, or of Connolly, demanded an explanation. After all, as he himself would surely have retorted, that was two years ago – and anyway, it didn't work.
Ian Hamilton contributed many exact, funny and unsparing pieces on poetry, on novels – and on football – to the LRB. He died in 2001.
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A commenter has just informed me about the blog "Mahaprana: Sanskrit, Yoga Philosophy & Transpersonal Counseling". The blog is by Joshua Michaell a Saiva Hindu who teaches Sanskrit, Yoga, Philosophy, and Meditation. He writes about his travels, tea and a wide variety of subjects with a spiritual connection.
I have added this blog to my page listing blogs by Western Hindus. I have also marked some blogs on the page which have not had recent activity as inactive.
Awsome blog indeed. Especially to those who want to learn sanskrit,.
A wonderful new blog which I am adding to the list on my own blog. One day, when I am truly retired, I will hopefully learn Sanskrit beyond the few words I now know.
Am learning too. Had taken sanskrit in Highschool, had to leave it during higher secondary.
Now i am doing self study parallel to my college.
I love it most among my 5 languages.
Anyone who want to learn Samskrutha language can download chapter by chapter and learn according to your convenience.
Thank you for that link. I've made the decision to set aside a time each day, starting tomorrow, to start my lessons.
syamukamath: unfortunately, it seems that those lessons assume that the beginner already knows the devanagari script — but I don't! I'll see if I ccan find another online tutorial targeted for complete beginners.
Lol, I Also assumed you know devanagri script.
It's for complete beginners, and I've just taken the first lesson!
Great. One of friends, Daniel was also searching for such site. Thanks.
Anyway ,Arunaji , i suggest after completion of that you take this also. It will help in advanced knowledge of Sanskrit. Sanskrit knowledge can reveal the true meaning of our epics.
Swami Nirmalanandagiri remarked" Vedas are for common man and Epics for scholars".


Once a waterjet starts to move out of the nozzle with any significant speed, as the pump pressure begins to build, it becomes more and more difficult to look at the stream of water and get any realistic idea of its structure. Mainly what is seen is the very fine mist that surrounds the main body of the jet, and while some idea of the structure can be obtained by making cuts through material, it can be quite expensive to actually see within that structure. Part of the problem is that though the mist is very fine, it is also moving at speeds in the range of a couple of thousand feet per second. The human eyeball isn't quite that fast. But we can use a very high-speed flash (in this case it was on for two millionths of a second) which has the effect of "freezing" the motion.
Figure 1. 40,000 psi jet issuing from a 0.005 inch diameter orifice, front lit.
However this mist still hides the solid internal structure of the jet and does not change much in relative structure, even when the internal jet conditions can be quite different. Fundamentally the internal structure was described by Yanaida at the 1974 BHR Group Waterjet Conference, and his description has been validated by many studies since.
This structure holds for jets across a wide range of pressure and flow volumes, but it is difficult to determine the exact transition points of that structure conventionally. And this can lead to very unfortunate results. I have twice seen people back a nozzle away and then move their hand in front of the jet to show that even high-pressure jets (these were being used to cut paper products and had no abrasive in them at the time) could be "safe." If both cases the individuals were very lucky to escape injury (water can penetrate the pores of the skin and lacerate the internal parts without any surficial signs of injury, and, as I showed last time, if the nozzle is too close it will slice through flesh and bone). I thought to take today's post to show, though the use of photographs, why that was such a stupid action.
The photos were taken down at Baxter Springs, KS in the early 1970's and involved the use of what was then a MacCartney Manufacturing Co intensifier, to shoot jets of varying pressure, and nozzle diameter along a path, so that we could see how coherent the jets were. As I mentioned above, the problem with looking directly at the jet is that the internal structure is hidden by the surrounding mist. To overcome that part of the problem we shone the light along a ground glass screen (to diffuse it) that was placed behind the jet, so that we could see the outline of the internal structure.
Figure 3. Arrangement for taking photographs of a high-speed jet.
This more of the downstream mist from the photograph, and a much better idea of the internal structure of the jet, and where the solid section ended could be measured.
Figure 4. Backlit, 30,000 psi jet issuing from a 0.01 inch diameter nozzle, the distance across the photograph is 6 inches.
The benefit of the technique is perhaps more evident when nozzles at different pressures and diameters and different chemistry are compared. First consider the change with an increase in jet diameter. From the front-lit view there is little difference in the jets. From the backlit, it is clear that the smaller diameter jet only reaches 3-inches across the screen, while the larger jet barely reaches the end of the range.
Figure 5. The effect of doubling the orifice diameter at the same jet pressure on jet range, the photo length is 6 inches.
One of the parts of the study we were carrying out in 1974 was to examine the effect that adding different long-chain polymers had on jet structure. The ones that we were looking at include some that are now used in the oil and natural gas industry to make the "slick water" that is used in the fracking industry to improve production from shale reservoirs. But it also has an advantage in "binding" the jet together. And so, in the study, Dr. Jack Zakin and I tested a wide range of different polymers to see which would be give the best jet.
There were a number of different things we were looking for. In cutting paper, soft tissue and water sensitive material for example, the polymer can bind the water sufficiently well as to further lower wetting to the point where it doesn't have an effect. It also can improve jet cutting under water – but I'll cover those in a few post on polymer effects that will come to later in the series.
The effect of a polymer (in this case an AP273) is shown in two tests where the only change was to add the polymer to the water for the lower one.
Figure 6. Jets with an orifice diameter of 0.01 inches at a pressure of 20,000 psi, the range is 6 inches, and the lower jet has had the polymer AP273 added to the water.
Figure 7. The effect of changing jet pressure, nozzle diameter and polymer content on jet cohesion.
It might be noted that the jet in the bottom frame has as much relative concentration (and power) at the end of the range as the top jet had at the beginning of the range.
Now it all depends on what you want the jet to do, as to which condition you wish to achieve. Inside abrasive mixing chambers the object is much different than it is when the object is to cut a foot or more of foam with high quality edges. And there have been some interesting developments with different polymers over the years, but I'll save those stories for another day.
But bear in mind that those individuals who could slide their fingers under the jet in the top frame of figure 7 would have had them all cut off if the jet had been running instead under the conditions of the bottom two frames, and in all three cases, to the naked eye the jets looked the same.


The Department of Mathematics, Statistics, and Computer Science seeks to recruit an exceptional statistician for a newly established TransUnion Professorship. This position has been created in part by a generous endowment from TransUnion. The successful candidate will have a strong academic background, an outstanding research record, excellent leadership skills and strong teaching ability. The TransUnion Professor will play a central role in developing multidisciplinary research programs and curricular initiatives in Data Science at UIC. Applicants must have a Ph.D. or equivalent degree in statistics, data science or a related field. The position is effective August 16, 2019.
Located in the heart of one of the world's great cities, the University of Illinois at Chicago is the city's only public research university with 30,000 students, 15 colleges, a hospital and a health sciences system. Researchers across several colleges are active in foundational research in data science as well as its applications. The Department of Mathematics, Statistics, and Computer Science has active research programs in a broad spectrum of centrally important areas of pure mathematics, computational and applied mathematics, mathematical computer science, probability and statistics, and mathematics education. See http://www.math.uic.edu for more information.
Applicants should provide a vita, research and teaching statements, and at least three (3) letters of recommendation. Applications should be submitted through mathjobs.org. No applications will be accepted by surface mail or e-mail. To ensure full consideration, application materials must be received by October 24, 2018, but applications will be accepted through November 30, 2018.
The University of Illinois at Chicago is an affirmative action, equal opportunity employer, dedicated to the goal of building a culturally diverse and pluralistic faculty and staff committed to teaching and working in a multicultural environment. We strongly encourage applications from women, minorities, individuals with disabilities and covered veterans. The University of Illinois may conduct background checks on all job candidates upon acceptance of a contingent offer. Background checks will be performed in compliance with the Fair Credit Reporting Act.


text:
Q: Android stripe CustomerSession.addCustomerSource() not working I am using Stripe's PaymentMethodActivity to add a payment source. When adding a credit card, I can debug all the way until this line of code in Stripe's AddSourceActivity:
        CustomerSession.getInstance().addCustomerSource(
                this,
                source.getId(),
                sourceType,
                listener);

The listener callbacks never get called and the progress bar on the AddSourceActivity keeps going indeterminately. This was working before, but I suspect this issue may be related to our recent backend overhaul. Could there be an issue with the api version when creating the ephemeral key?

A: I found a solution. I wasn't correctly handling the response from our backend when requesting a new ephemeral key. Originally I had deserialized the response into an object and then converted that object to a json string to pass to Stripe. I corrected the problem by directly using the string representation of the response instead of doing any unnecessary serialization steps.

redpajama_set_name: RedPajamaStackExchange


text:
NewsPoliticsCoronavirus
Ford defends decision to keep big retailers open while independent stores remain closed
Doug Ford / CPAC
Premier Doug Ford said that it isn't fair independent retailers need to close while larger stores remain open, but he defended the decision.
During a press conference on Tuesday, when asked about why Costco and Walmart can remain open but independent stores cannot, Ford said, "It's not fair."
"A lot of these things aren't fair, but that's what the health team put in front of us. Are you going to shut down every single second aisle at a Walmart or Costco? It's just not possible. It's frustrating. It's the toughest thing. As a business owner, I hate closing down businesses, but I'll always follow the medical advice and health advice."
Dan Kelly, the CEO of the Canadian Federation of Independent Business (CFIB), said that Joe Fresh can remain open but an independent clothing store can't, just as people can buy books at Costco but not from an independent bookseller.
"On what planet is this fair?" the CEO said on social media.
Day 2 of Toronto/Peel lockdowns:
1. Joe Fresh – still open, independent clothing boutique – closed.
2. Flowers at Walmart – no problem, independent florist – closed.
3. Books at Costco – come on in, independent bookseller – closed.
On what planet is this fair @fordnation?
— Dan Kelly (@CFIB) November 24, 2020
On Monday, Ford responded to similar questions saying it would be a "logistical nightmare" to require large retailers to section off non-essential goods, as is the case under a similar order in Manitoba.
"I know this is not fair, and that's why we put the additional $300 million into supporting small businesses and took care of their property taxes, their energy costs," he said at the time.
"We're doing everything we can as a province, but the quicker we can get through this, the quicker we can get this vaccine out there, then we can get people back and open up."
Over 4,000 COVID-19 cases reported in Ontario schools
Ontario reports drop in new COVID-19 cases with just over 1,000
Some of the new restrictions include reducing retail stores to only offer curbside pick-up or delivery; restaurants can only be open for pick-up, drive-through, and delivery. No indoor gatherings will be allowed except with members of the same household, and outdoor gatherings are limited to 10 people.


text:
About the PCA
Little Libraries
Around Parkside
PCA Board Members
Tax Credit Tips
Historic Papers
The Unique Nature of Parkside Scavenger Hunt
Parkside Neighborhood
SHOP PARKSIDE
PCA Cotton Beanie
PCA Baseball Hat
Mens Hooded Sweatshirt
Mens Short Sleeve
Mens long sleeve
Trees of Parkside 2023 Calendar
DOnate to the annual Appeal
One of the most locally impacting ways you can help, is by making a tax-deductible donation to the PCA's Annual Appeal.
The work we did this year, and every year for the past 58 years, would not have been possible without the support and generosity of people like you, and for that, we thank you.
The Parkside Community Association (PCA), a member driven 501c3 not-for-profit, is the largest membership-based community association in the City of Buffalo. The PCA provides a number of regular services to the neighborhood and holds several special events that are open to the public. Most of these events are fundraisers with the added goal of bringing people into Parkside to see what an urban neighborhood has to offer.
Remembering Richard F. Griffin
Richard was a co-founder of the Parkside Community Association in 1963. A prominent lawyer, devoted gardener, he spent a lot of time as a volunteer with the Olmsted Parks Conservancy and the Buffalo and Erie County Botanical Gardens.
The Parkside Community Association is the largest membership-based community association in the City of Buffalo.
pcadirector@gmail.com


The Nike Factory Store CLEARANCE SALE starts tomorrow, February 17!!!
Enjoy discounts of up to 60% off at Nike Factory Store Paseo de Sta. Rosa, Laguna, Nike Factory Store SLEX Mamplasan, Nike Factory Store NLEX, Pampanga, and Nike Factory Store Mactan, Cebu.


text:
Q: In Qt6 cin/getline does not read any input for me I am just starting with QT6 (and with QT in general).
I have tried to do simpe cin/cout operations and it's already troublesome.
Somehow cin does not read a line, nor does getline.
Here is my code:
#include <QCoreApplication>
#include <iostream>
#include <string>

using namespace std;

void do_something()
{
    string name = "";
    cout << "Enter your name: \n";
    cin >> name;
    cout << "Hello " << name << "\n";
    return;
}

int main(int argc, char *argv[])
{
    QCoreApplication a(argc, argv);

    do_something();
    return a.exec();
}

The line "Enter your name: " get's written, the newline character does not!?
Then whatever i type in the console, does not do anything to cin, and the program is, as it seems stuck in cin.
If instead of "\n" i use "endl" for the "\n" at the second cout, the following happens.
Cin is completely getting ignored and the "Hello" also gets printed.

A: The solution was, as written in the comments:

*

*Run the program in the Terminal, not in the QT Creator's Output Termina.
In the output Terminal you cannot type any input.

*Flush the buffer because the text lies in the buffer until a endl or a flush occurs.


text:
Movies hot news
movieshotnews.com
Home » TV » Former home of author HG Wells goes on sale for £14 million
Former home of author HG Wells goes on sale for £14 million
12/09/2020 Comments Off on Former home of author HG Wells goes on sale for £14 million
The former home of sci-fi author HG Wells has gone on sale for £13.95million.
Most famous for writing The War of the Worlds and Time Machine, HG Wells lived in the house from 1933 until his death in 1946, and the building even has a famous blue plaque.
Although it might be out of your budget, there's no harm in having a little look around.
The stunning 4,898 sq ft, four-bedroom mansion comes with it's own sauna, wine cellar and mews house at the end of the landscaped garden.
Set over five floors, the luxury home is in Hanover Terrace, next to Regent's Park and one of the most expensive streets in London.
The home was built in 1822 by Sir John Nash, the same 18th century architect who designed much of Buckingham Palace and London's iconic Regent Street.
There are lots of original period-style features such as bespoke bookcases, fireplaces and a spiral staircase.
The home is being sold through estate agents Aston Chase.
Mark Pollack, Director and Co-Founder said: 'Thirteen Hanover Terrace is an exceptional Nash property with grand entertaining spaces, period features and unobstructed views over Regent's Park.
'Alongside the main residence, purchasers of Thirteen Hanover Terrace benefit from a mews house, which can host guests or be utilised as a private home office.
'This property is truly one-of-kind with a colourful history, commemorated by the blue plaque outside.
'The purchaser of 13 Hanover Terrace will be buying an iconic home, which seldom comes to market, as well as a piece of British history.'
Get in touch at metrolifestyleteam@metro.co.uk.
AuthorformerHGhomeofWells
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Tom Holland & Zendaya Shoot Scenes Together For 'Spider-Man 3′
Dave Bautista Offers $20K Reward to Find 'MAGATs' Who Scraped Manatee With 'Trump'
'Vikings' Season 6B: Alex Høgh Andersen Shares Painful Special Effects Look
Dancing on Ice's Joe-Warren Plant takes a tumble during first skate with Vanessa
Dancing On Ice fans 'in tears' as show offers 'some normality' as it returns to our screens
Love Island's Katie Salmon slams vaccine as she swaps underwear for face masks
Aly and AJ Drop New Track and They Want You to "Listen!!!"
'Truth to Power': See New Trailer for Upcoming Serj Tankian Documentary


text:
Q: No flutter framework stack trace I used to see full stack trace when Flutter framework throw error. However since recent release, no stack track are shown other then the following message.
Full code
import 'package:flutter/material.dart';

class BtnApp extends StatelessWidget {
  final String title;

  BtnApp([this.title]);

  @override
  Widget build(BuildContext context) {
    if (title.substring(0, 1) == '/') {
      print('start with /');
    } else {
      print('other');
    }
    return new Container();
  }
}

main() {
  runApp(new BtnApp());
}

Output
Launching lib/tinker/btnapp.dart on iPhone 7 in debug mode...
Running pod install...
Running Xcode build...
Syncing files to device iPhone 7...
══╡ EXCEPTION CAUGHT BY WIDGETS LIBRARY ╞════════
The method 'substring' was called on null.
Receiver: null

When the exception was thrown, this was the stack:
════════════════════════════════════════════════════════

no stack trace here

A: There might've been changes on the version that you've updated to which have caused the issue. I've tried the minimal repro you've provided on Flutter version 2.5.1 stable channel and stacktraces for the error were displayed for both Android and iOS.
As a side note, Flutter has since release null safety support and it should prevent "method was called on null" issues - which are usually caused by forgetting to initialize the object that you're trying to access.


text:
Mako Sica: Naming the Badlands
The name "Badlands" has been around for a long time, from its use in Lakota culture to its spot on the original entrance sign pictured here to its place on NPS webpages today.
NPS Photo
The name Badlands National Park poses an interesting question: why would you try to entice people to visit a park by calling it bad? In truth, the name is an homage to people that lived in the Badlands before it was a national park. For hundreds of years, the Lakota people have called this area mako sica, which literally translates to "bad lands." When early French fur trappers passed through this area, they called the area les mauvaises terres a traveser ('bad lands to travel across'). Since the French trappers spent time with the Lakota, it is likely that the French name is derived directly from the Lakota one. But why? What made this area deserve a "bad" name?
The Badlands presents many challenges to easy travel. When it rains in the Badlands, the wet clay becomes slick and sticky, making it very difficult to cross. The jagged canyons and buttes that cover the landscape also make it hard to navigate. The winters are cold and windy, the summers are hot and dry, and the few water sources that exist are normally muddy and unsafe to drink. These factors make the land difficult to survive in, and evidence of early human activity in the Badlands points to seasonal hunting rather than permanent habitation.
One final fun fact about the name of Badlands National Park: In 1922, when Badlands was first proposed as a national park, the suggested name was Wonderland National Park!
Part of a series of articles titled History & Culture in the Badlands.
midwestnps
people of the plains


text:
Justin Richburg Talks — Childish Gambino, Storytelling, and Reinventing Yourself As An Artist
by Jasmine Whitaker
The saying goes, big opportunities sometimes make or break you — but, in other cases, they can reinvent you and prepare you for the next crossroad. I'm sure the same can be said by many designers, a single job could determine the rest of your career — heck, even your life. For Justin Richburg, his success as a character illustrator set him up for more possibilities than he ever imagined.
Justin is a Philadelphia-based artist who just so happened to be the character designer for a Grammy Award-winning, big-name artist — *cough, whose name rhymes with Wildish Mambino — but don't let the climb to fame fool you. Justin wants to establish his own claim to fame, his work set the benchmark to a whole new world of creative opportunities.
Image source: Shizzie Who.
We sat down with Justin to shed some light on his experience as an independent character designer, and how his work and ambitions are a reflection of his own life and unique self.
Justin knew early on in life he was destined to be an artist — a dollar bill being the first drawing that he could recall — but it wasn't until the age of 22 when he considered illustration to be a source of passion and income. "I've drawn ever since I could remember, and it just made sense," he says.
He went on to discover that many of his favorite childhood TV shows influenced his unique approach to art. "Growing up I would watch 'Yu-Gi-Oh!' and 'Dragon Ball Z,'" he says. "I was always fascinated with the details in the ears and the eyes; all those shows taught me detail." From there, Justin went on to define his own style, inspired by many of the characters he grew up watching in anime and comics.
Philly-love
The Philadelphia art scene covers a wide range of vibrant and eclectic murals, mosaics, and a mecca for visual and contemporary styles — but it's Philly's thriving underground art scene that truly showcases this city's gems. "I was born and raised in North Philly — Philly inspired me to become a storyteller, but with real stories."
Justin was born and raised in North Philadelphia on the infamous Spruce Street — home to one of his all-time heroes, Will Smith — an area drenched in culture and art. Many aspects of his hometown and personal experiences are reflected in his work. "I was stalked for five years by a woman a while back, and that experience turned into something for my art." Many of these stories passed along from people in Justin's community that then motivated his exploration in storyboarding and comics.
Working with Childish Gambino
It's no secret that he's the man behind the characters in Childish Gambino's music video, but his response to the hype has been nothing more than humbling. "This was my first time doing something like this, and I just wanted to give my input and sit back and learn," he says, "I didn't expect to be in a room with Gambino. I even got to meet one of my idols, Charlamagne tha God. He inspires me to speak my mind and stay true to myself."
Justin worked alongside a team of animators and creative directors to perfect the vision of all 60+ characters, including background visuals, and, of course, capturing the essence of Gambino himself, the lead character in the video. "The Gambino drawing was the most accurate to my style of character design — also Wiz Khalifa, Diddy, Jay Z, and Dr. Dre were spot on," says Justin.
The next is near
Justin's experience reflects many artists in the independent underground arts community. Possessing true talent can push you to the forefront of an oversaturated industry and give you the freedom to redefine as many times as you want.
"My next project is a comic about space and aliens. It's my second comic, but I'm trying to get better at writing stories," says Justin.
As the opportunities flow in, Justin never forgets to stay humble, and patient with the industry, "People want things to come quickly, and that's not how life works. People who have a longer path understand things and are more prepared."
For now, Justin plans to ride the wave of his success, and hopes to land a studio job close to his stomping grounds. "I want a studio job, but how the way things look, I might go beyond that," he says.
"I don't know what the future may hold, but there's something in front of me right now, and I have to take advantage of it."
Topics: Creativity, Illustration


text:
Graham Kennedy highlights
Blankety Blanks
FremantleMedia
An excerpt from an episode of Blankety Blanks (May 1977) with host Graham Kennedy and his regular celebrity panel: Noel Ferrier, Noeline Brown, 'Ugly' Dave Gray, Peita (now Peta) Toppano, Stuart Wagstaff and Marty Rhone.
Graham asks the panel: 'Noeline Brown said, "I remember the first man who proposed to me. I would have accepted, except he was [blank]."' He then asks the contestant and panel for answers.
Based on the American game show Match Game, Reg Grundy launched his latest production on the 0-10 Network in February 1977 with Graham Kennedy his prized signing as host. Though he had appeared as an occasional guest panellist on the previous year's Grundys show Celebrity Squares, Blankety Blanks marked Graham's first hosting foray in the format. The success of the show was no sure thing, since it was up against flagship current affairs programs A Current Affair (Nine) and Willesee at Seven (Seven). The show's mixture of comedy, camaraderie and competition quickly proved to be an irresistible ratings triumph, Kennedy winning his fifth TV Week Gold Logie in 1978. 'I'd like to thank me, for having faith in the Reg Grundy organisation', he cheekily announced upon accepting the award.
Much of the success of Blankety Blanks lay with Graham and his canny decision to transfer the focus of the program from the contestants to the panellists, the latter of whom he had handpicked. Among the most popular elements of the show were recurring characters Peter the Phantom Puller and Tony the Moustache Twirler, and the double entendre-laden routines of Dick and Cyril, often featuring byplay with regulars Noeline Brown and 'Ugly' Dave Gray. In this clip, Graham's mention of 'the management and his wife' referred to Reg Grundy and his wife, actress Joy Chambers, the latter an occasional panellist on the show.
Two years and 440 episodes later, the program's enormously successful run ended while it was still on top. Graham sensed the format's limited life span and had sated his desire to host a game show. Blankety Blanks was revived in later years with different hosts (Daryl Somers, Shane Bourne), without ever replicating the appeal or influence of the original.
Notes by Simon Smith
Graham Kennedy


When would a company need to use a collateral agent (also known as security agent or security trustee)? When lenders take collateral as security for their loans, a collateral/ security agent is often appointed to enforce rights against the collateral in the event of the borrower's default under the loan or bond documents.
They can also hold the collateral during the term of the loan. There are several reasons the appointment of a collateral agent may be desirable. There may be a syndicate of lenders for the loans, so it may make sense to centralize the collateral-related duties by delegating them to one agent which will act at the direction of the requisite number of lenders (as specified in the transaction documents). It is also possible that collateral may be located in a jurisdiction where the lenders or trustee does not have a presence. Creditor's rights in pledged security/collateral are typically determined by local laws, so it may be prudent to hire a local agent familiar with the local jurisdiction. It is also possible that the lender is not suited to hold collateral and so an agent with appropriate capabilities needs to be retained.
Prior to the default, the agent's role in a secured financing is usually a simple one. It involves accepting the pledge of the applicable collateral and enforcing rights against that collateral when directed to do so.
The collateral agent may be required to hold certain types of collateral. The collateral could be a type in which a lien can only be effective if the collateral is in the physical possession of someone other than the borrower. This collateral often consists of documents such as stock certificates, contracts or deeds. The transaction documents may require the collateral agent to take special actions in respect of the collateral, such as safe keeping in secure fire-proof facilities and indicating in its records that the collateral is held for the benefit of the lenders.
In some jurisdictions, for the lien to be effective, the collateral agent may need to be named as the secured party. The agent may be required to sign documents governed by local law which create a lien and provide the agent with the ability to exercise rights in the collateral (such as a foreclosure). In this situation, the agent will need to retain local counsel – at the expense of the transaction sponsor or the borrower – to review these documents and ensure the collateral agent is not subjected to any unexpected liabilities.
If a default occurs under the financing, the collateral agent may be called upon to enforce the rights in the collateral. The agent will do so only at the direction of the specified lenders or bondholders, and should be indemnified for the costs of enforcement, including counsel fees. Any proceeds (generally net of the agent's expense) will be remitted to the lenders in respect of their loan.
There should be minimal risk for an entity serving as a collateral agent if the documentation is drafted correctly. The documentation should clearly provide that the agent's duties are ministerial in nature, so that the agent exercises no discretion and acts only at the direction of the lenders. The documentation should also provide an indemnity of the agent for its actions (typically subject to the agent's gross negligence or wilful misconduct, and should be clear that all costs of enforcement are covered by the lenders).
It is possible that in some jurisdictions liens may be difficult to enforce and enforcement efforts may result in protracted litigation. Additionally, the agent may not desire to foreclose upon certain some types of collateral for reputational reasons. Each appointment must be examined on a case-by-case basis.
TMF Group can provide collateral/security agent services as well as a comprehensive range of capital markets services across our global footprint. As an independent service provider, our local experts can take care of paperwork as well as work through local technicalities to streamline the legal work required by the client to reduce legal expenses. Find out how we can help your business. Talk to us.


ARE YOU READY TO START YOUR LAW ENFORCEMENT CAREER?
Law Enforcement Exploring provides educational training programs for young adults on the purposes, mission, and objectives of law enforcement. The program provides career orientation experiences, leadership opportunities, and community service activities.
Exploring is open to young men and women from ages 14 (having graduated the eighth grade) to 20, who are interested in exploring a career in law enforcement.
Law Enforcement Exploring gives you the unique opportunity to experience firsthand what it takes to pursue a career in law enforcement. You will work alongside Hampton Police Officers to learn real world career skills and character development and participate as an active citizen in your community.
the Community Engagement Unit by phone (757) 727-6574.


©2001 Joan Mertens Johnston, Inc. (P)2017 Joan Mertens Johnston, Inc.
I've listened to well over 100 audible/audio books. The narration of this book plus lack of editing was unbelievably bad! From the stoping/starting again in a sentence to periodically hearing a male in the background counting down was unbelievable. Plus, there was the lack of different intonations for each character. In the beginning it sounded as though it was set on fast speed so I slowed it to 75% which didn't help. This is a very gifted author but she is not a narrator. I kept thinking if only a Jack Garrett or others of his ability had been the narrator! I bought two in this series at one time but will buy no more with this author as narrator!
I have always love the bitter Creek series. the first four are my favorite. awesome storylines.


Edgar Allan Poe's father - David Poe, Jr. - had a sister named Maria. After she married, her name was Maria Clemm.
This image depicts Maria Poe Clemm - Edgar's aunt and future mother-in-law.
Bos, Carole "Maria Clemm" AwesomeStories.com. Oct 07, 2013. Apr 20, 2019.


text:
Elderly woman's home may have been damaged by 'rogue traders' to get her to pay up to £6k for roof repairs, High Court hears
Police were alerted by the elderly woman's son.
By Alan Erwin
August 16 2017 14:33 PM
An elderly dementia sufferer's home may have been deliberately damaged by suspected rogue traders trying to get her to pay up to £6,000 for roof repairs, the High Court heard on Wednesday.
https://www.belfasttelegraph.co.uk/news/northern-ireland/elderly-womans-home-may-have-been-damaged-by-rogue-traders-to-get-her-to-pay-up-to-6k-for-roof-repairs-high-court-hears-36038566.html
https://www.belfasttelegraph.co.uk/incoming/48266/36038574.ece/AUTOCROP/h342/court.jpg
Prosecutors claimed one of the gang targeted the 81-year-old Co Down woman just days after being bailed on nearly identical alleged offences against another pensioner.
Details emerged as the 23-year-old man accused of masterminding last month's scam was ordered to remain in custody.
Charles Ward, of Gortview Park in Coalisland, Co Tyrone, denies charges of fraud by false representation, possessing leaflets, identity badges and invoices in connection with fraud, and acting as a pedlar without a certificate.
He faces further counts of failing to give a consumer notice of their right to cancel, and engaging in aggressive and misleading commercial practice.
Ward was said to be part of a three-man team who called at the woman's home in Warrenpoint on July 29.
Crown lawyer Adrian Higgins revealed the alleged victim, who lives there with her 95-year-old husband, is considered vulnerable due to her dementia.
He claimed Ward tried to pressure her into having roof tiles replaced and power-washing carried out.
She was initially quoted £1,600 for the work, only for the price to rise to £3,000, the court heard.
According to the prosecution the woman received no paperwork and was not advised of her rights.
Mr Higgins claimed the workmen informed her they had noticed other damage to the roof and would fix it for another £3,000.
"She refused, saying she couldn't afford it and wanted to speak to her son, but they told her they would return the next day to conduct the work," the barrister contended.
The pensioner then allegedly received a series of phone calls seeking payment for the power-washing services.
Police alerted by the woman's son arrested Ward and one of his co-accused when they returned to her home on August 1.
The court was told an independent evaluator assessed the work carried out as coming nowhere near the prices quoted.
Mr Higgins also claimed CCTV footage appeared to show men physically removing roof tiles.
"It's suspected that damage was caused by them in an attempt to create a repair job that would not otherwise have been required," he said.
Opposing bail, the prosecutor confirmed Ward had just been released from custody on JUly 27 for the same type of alleged fraud offences against an elderly woman in Bangor, Co Down.
"Police believe he's the mastermind behind the operation," Mr Higgins added.
Defence counsel Sean Mullan countered that his client strenuously denies the charges.
Suggesting the case could come down to a contractual dispute, he stressed: "These men have carried out work, it's not a situation where they have taken money and then disappeared into the night."
Mr Mullan further argued that another Dundalk-based firm had previously carried out work on the Warrenpoint pensioners' home, raising issues about when any damage was caused.
Refusing bail, however, Mr Justice O'Hara held there was a risk of further offending and cited the need to "protect the vulnerable and elderly".
Belfast Telegraph Digital
O'Neill against any hike in tuition fees to help balance the books at Stormont
By Andrew Madden Deputy First Minister Michelle O'Neill has said raising tuition fees here is "not the way to go" to plug any shortfall in funding from the UK Government.


A team of ten 6th form students and two staff have had the trip of a lifetime after arriving back from a 4 week expedition in the far east. The team experienced an emotional rollercoaster in visiting one of the wonders of the world – Angkor Wat and also the killing fields and prison S-21 from Cambodia's tragic recent past. All of the students have incredible stories to tell of the visits and the project where they interacted and taught a remote school. I am sure that this will be the start of many future travels for many of the team now that they have the experienced such a memorable experience.
A group of twelve students will be travelling to Nepal in 2019 and we are just launching the 2020 expedition to Vietnam / Cambodia.


I'm still yet to know where to place in my coming new home. he!
I have the exact same thing - a mini shopping cart.. oh, wait, mine is red though and Ronnel told me off for buying it because it has no use at all! haha.
Someone can tell me how can I find the website of this shop in English???


A court of equity will extend no aid to sustain a claim to a trademark of an article which is put forth with a misrepresentation to the public as to the manufacturer of the article, and as to the place where it is manufactured, both being originally circumstances to guide the purchaser of the medicine.
When it is the object of a trademark to indicate the origin of manufactured goods, and a person affixes to goods of his own manufacture a trademark which declares that they are goods of the manufacture of some other person, it is a fraud upon the public which no court of equity will countenance.
The plaintiff claimed to be the owner of a patent medicine and of a trademark to distinguish it. The medicine was manufactured by the plaintiff in New York; the trademark declared that it was manufactured by another party in Massachusetts. Held that he was entitled to no relief against a person using the same trademark in Maine.
Bill in equity to restrain the defendants from using an alleged trademark of the complainant, upon certain medicines prepared by them, and to compel an accounting for the profits made from its use in their sale of the medicines; also, the payment of damages for their infringement of the complainant's rights.
"Atwood's Genuine Physical Jaundice Bitters, Georgetown, Mass.," were blown in the glass, each bottle containing about a pint, with a light yellow printed label pasted on the outside, designating the many virtues of the medicine, and the manner in which it is to be taken, and stating that it is manufactured by Moses Atwood, Georgetown, Massachusetts, and sold by his agents throughout the United States.
The bill also alleges that the bottles thus filled and labeled are put up in half-dozen packages with the same label on each package; that the medicine was first invented and put up for sale about twenty-five years ago by one Dr. Moses Atwood, formerly of Georgetown, Massachusetts, by whom, and his assigns and successors, it has been ever since sold "by the name, and in the manner, and with the trademarks, label, and description substantially the same as aforesaid;" that the complainant is the exclusive owner of the formula and recipe for making the medicine, and of the right of using the said name or designation, together with the trademarks, labels, and goodwill of the business of making and selling the same; that large sales of the medicine under that name and designation are made, amounting annually to 12,000 bottles; that the defendants are manufacturing and selling at Portland, Maine, and at other places within the United States unknown to the complainant, an imitation of the medicine, with the same designation and labels, and put up in similar bottles, with the same, or nearly the same, words raised on their sides, in fraud of the rights of the complainant and to its serious injury; that this imitation article is calculated and was intended to deceive purchasers and to mislead them to use it instead of the genuine article manufactured by the complainant, and has had, and does have, that effect. The bill therefore prays for an injunction to restrain the defendants from affixing or applying the words "Atwood's Vegetable Physical Jaundice Bitters," or either of them, or any imitation thereof, to any medicine sold by them, or to place them on any bottles in which it is put up, and also from using any labels in imitation of those of the complainant. It also prays for an accounting of profits and for damages.
Among the defenses interposed are these: that Moses Atwood never claimed any trademark of the words used in connection with the medicine manufactured and sold by him, and assuming that he had claimed the words used as a trademark, and that the right to use them had been transferred to the assignors of the complainant, it was forfeited by the misrepresentation as to the manufacture of the medicine on the labels accompanying it -- a misrepresentation continued by the complainant.
In the view we take of the case it will not be necessary to consider the first defense mentioned, nor the second, so far as to determine whether the right to use the words mentioned as a trademark was forfeited absolutely by the assignor's misrepresentations as to the manufacture of the article. It is sufficient for the disposition of the case that the misrepresentation has been continued by the complainant. A court of equity will extend no aid to sustain a claim to a trademark of an article which is put forth with a misrepresentation to the public as to the manufacturer of the article and as to the place where it is manufactured, both of which particulars were originally circumstances to guide the purchaser of the medicine.
It is admitted that whatever value the medicine possesses was given to it by its original manufacturer, Moses Atwood. He lived in Georgetown, Massachusetts. He manufactured the medicine there. He sold it with the designation that it was his preparation, "Atwood's Vegetable Physical Jaundice Bitters," and was manufactured there by him. As the medicine was tried and proved to be useful, it was sought for under that designation, and that purchasers might not be misled, it was always accompanied with a label showing by whom and at what place it was prepared. These statements were deemed important in promoting the use of the article and its sale, or they would not have been continued by the assignees of the original inventor. And yet they could not be used with any honest purpose when both statements had ceased to be true. It is not honest to state that a medicine is manufactured by Moses Atwood, of Georgetown, Massachusetts, when it is manufactured by the Manhattan Medicine Company in the City of New York.
to the public that it is the genuine product of his manufacture. It thus often becomes of great value to him, and in its exclusive use the court will protect him against attempts of others to pass off their products upon the public as his. This protection is afforded not only as a matter of justice to him, but to prevent imposition upon the public. Manufacturing Company v. Trainer, 101 U. S. 51.
The object of the trademark being to indicate, by its meaning or association, the origin or ownership of the article, it would seem that when a right to its use is transferred to others, either by act of the original manufacturer or by operation of law, the fact of transfer should be stated in connection with its use; otherwise a deception would be practiced upon the public and the very fraud accomplished, to prevent which courts of equity interfere to protect the exclusive right of the original manufacturer. If one affix to goods of his own manufacture signs or marks which indicate that they are the manufacture of others, he is deceiving the public and attempting to pass upon them goods as possessing a quality and merit which another's skill has given to similar articles, and which his own manufacture does not possess in the estimation of purchasers. To put forth a statement, therefore, in the form of a circular or label attached to an article that it is manufactured in a particular place by a person whose manufacture there had acquired a great reputation when in fact it is manufactured by a different person at a different place is a fraud upon the public which no court of equity will countenance.
This doctrine is illustrated and asserted in the case of Leather Cloth Co. (Limited) v. American Leather Cloth Co. (Limited), which was elaborately considered by Lord Chancellor Westbury, and afterwards in the House of Lords on appeal from his decree. 4 DeG., J. & S. 137, and 11 House of Lords' Cases 523.
In that case, an injunction was asked to restrain the defendant from using a trademark to designate leather cloth manufactured by it, which trademark the complainant claimed to own. The article known as leather cloth was an American invention, and was originally manufactured by J. R. & C. P.
Crockett at Newark, New Jersey. Agents of theirs sold the article in England as "Crockett's Leather Cloth." Afterwards a company was formed entitled "The Crockett International Leather Cloth Company," and the business previously carried on by the Crocketts was transferred to this company, which carried on business at Newark, in America, as a chartered company, and at West Ham, in England, as a partnership. In 1856, one Dodge took out a patent in England for tanning leather cloth and transferred it to this company. In 1857, the complainant company was incorporated, and the international company sold and assigned to it the business carried on at West Ham, together with the letters patent and full authority to use the trademark which had been previously used by it in England. A small part of the leather cloth manufactured by the complainant company was tanned or patented. It, however, used a label which represented that the articles stamped with it were the goods of the Crockett International Leather Cloth Company; that they were manufactured by J. R. & C. P. Crockett; that they were tanned leather cloth; that they were patented by a patent obtained in 1856, and were made either in the United States or at West Ham, in England. Each of these statements or representations was untrue so far as they applied to the goods made and sold by the complainant.
false representations to the public, it is essential that the plaintiff should not in his trademark, or in the business connected with it, be himself guilty of any false or misleading representation, for if the plaintiff makes any material false statement in connection with the property he seeks to protect, he loses, and very justly, his right to claim the assistance of a court of equity."
"Where a symbol or label, claimed as a trademark, is so constructed or worded as to make or contain a distinct assertion which is false, I think no property can be claimed in it, or, in other words, the right to the exclusive use of it cannot be maintained."
When the case reached the House of Lords, the correctness of this doctrine was recognized by Lord Cranworth, who said that of the justice of the principle no one could doubt; that it is founded in honesty and good sense, and rests on authority as well as on principle, although the decision of the house was placed on another ground.
The soundness of the doctrine declared by the Lord Chancellor has been recognized in numerous cases. Indeed, it is but an application of the common maxim that he who seeks equity must present himself in court with clean hands. If his case discloses fraud or deception or misrepresentation on his part, relief there will be denied.
to the public as to the teas of which his mixture was composed, and as to the mode in which they were procured. "It is a clear rule," said the vice-chancellor, "laid down by courts of equity, not to extend their protection to persons whose case is not founded in truth."
In Perry v. Truefitt, 6 Beav. 66, which was before Lord Langdale, Master of the Rolls, in 1842, a similar ruling was had. There it appeared that one Leathart had invented a mixture for the hair, the secret and recipe for mixing which he had conveyed to the plaintiff, a hairdresser and perfumer, who gave the composition the name of "Medicated Mexican Balm," and sold it as "Perry's Medicated Mexican Balm." The defendant, one Truefitt, a rival hairdresser and perfumer, commenced selling a composition similar to that of plaintiff, in bottles with labels closely resembling those used by him. He designated his composition and sold it as "Truefitt's Medicated Mexican Balm." The plaintiff thereupon filed his bill, alleging that the name or designation of "Medicated Mexican Balm" had become of great value to him as his trademark, and seeking to restrain the defendant from its use. It appeared, however, that the plaintiff, in his advertisements to the public, had falsely set forth that the composition was "a highly concentrated extract from vegetable balsamic productions" of Mexico, and was prepared from "an original recipe of the learned J. F. Von Blumenbach, and was recently presented to the proprietor by a very near relation of that illustrious physiologist," and the court therefore refused the injunction, the Master of the Rolls holding that, in the face of such a misrepresentation, the court would not interpose in the first instance, citing with approval the decision in the case of Pidding v. Howe.
"Those who come into a court of equity seeking equity must come with pure hands and a pure conscience. If they claim relief against the frauds of others, they must themselves be free from the imputation. If the sales made by the plaintiff and his firm are effected, or sought to be, by misrepresentation and falsehood, they cannot be listened to when they complain that, by the fraudulent rivalry of others, their own fraudulent profits are diminished. An exclusive privilege for deceiving the public is assuredly not one that a court of equity can be required to aid or sanction. To do so would be to forfeit its name and character."
See also Seabury v. Grosvenor, 14 Blatchford 262; Hobbs v. Francais, 19 How. (N.Y.) 567; Connell v. Reed, 128 Mass. 477; Palmer v. Harris, 60 Penn.St. 156.
The doctrine enunciated in all these cases is founded in honesty and good sense; it rebukes fraud and encourages fair dealing with the public. In conformity with it, this case has no standing before a court of equity.
The decree of the court below dismissing the bill must therefore be affirmed, and it is so ordered.